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Footage looks real dark. I assume that is because it is just giving me a linear file to start with. Thats cool, but where should I be setting levels? with the HDR plugin? Same goes for white balance. Where do I set that?

Thanks Cesar. I'm also currently leaning towards RAID 1+0 instead of 5 or 6, as the inherent problems with those methods that I keep reading about make it sound like the money one will save on hard drives, might cost someone dearly in the long run.

Also, what is currently the best Premiere->Resolve (and back to Premiere) workflow? The premiere-->XML seems to keep putting shots in at random, even shots that were not in the timeline appear in different places.

Hey guys, so I think I've figured this out. The problem had to do with Timecode. Anyways, I think it's fixed now in a new version (2013-01-18). I just created an EDL and got the Afterglow footage to open in Resolve.

You probably already know this, but you have to be very careful with your time and sequence settings. The Afterglow footage was shot in 24. If your source is 24 then make sure that your sequence is 24fps (NOT 23.98) and that you disable "Drop Frame" in the EDL export menu. Otherwise the footage will get misaligned. Please try it out and let me know if it works for you.

Also, I've got a question for you guys: How are you importing the footage back to Premiere Pro?

BTW: This version also should import the WAV files. When you import the first frame it will check for a WAV file in the same directory with a similar name. It should work fine, but if it doesn't you know where to find me. (-:

Hi John, I tried exactly that, and am still having problems, can't link to the file/can't import EDL or XML. Tried making a dedicated sequence with just a single DNG clip from Premiere, both EDL and XML, won't import. Not sure what I am doing wrong. If there are any suggestions, please let me know!
Thanks
Martin

import my DNG's into resolve first
un-tick every box in the XML import dialogue (no auto import)
set timebase
no resizing (davinci auto scales anyway to fit frame of project)

And all imported and connected nicely, correct in/out timecode etc.

in my case as I was mixing with other footage in premiere on a 1080p timeline, and had resized the GNR reference files to match the rest.
By not checking resize in the XML import dialogue, and setting my Resolve timeline and delivery tab to 1080p, re-importing into premiere gave the correct framing.

Someone said that Resolve scales better, but then there is the extra res gained from the GNR. Need to test and compare this.

Sadly, it appears GingerHDR is no more, according to their web site and blog post.

Much respect to John for what he did.

On the other hand, I'm not 100% convinced that editing DNGs in NLE natively is the way to go.

For example, intermediate codec lets you work on a weak computer with small storage, and/or exchange your footage and project far more easily with other editors... etc. There are more advantages to the RAW workflow with intermediate video - see here.

If it plays faster in half speed than it does in full speed, then the bottleneck isn't your disk. Also, your OS might do some caching under the hood. So when you play a sequence the first time it's very slow but the second time it might be fast because the OS kept the data around under the hood.

I have experienced this working with 16 bit 2k tiff sequence transcodes in Lightworks. 10 bit or 12 bit DPX plays fine. Seems like the practical upper limit for single SATA 3 7200 RPM drives for consistent performance is more like 75-80 MB/sec continuous including overhead.

I upgraded my Raw 4 Pro to 5.1 this weekend. I'm liking the 10 bit Cineform export option for an editing intermediate. 176Mbps in 2k. Runs very well in my Lightworks NLE off of single media drives where the CDNG files really need a raid array.
Cineform sample basic grade and H.264 export from Lightworks NLE.

I think this will be my new preferred fast turn workflow for simple web videos. Save Resolve for more sophisticated grading needs. The quality is definitely better than running CDNG native in Premiere or Lightworks.

Just a quick note, RAW 4 PRO will no longer be offered in just a few days. Blackout date: Jan 25th 2018.
But R4P Easy users who purchased their licenses up to that date will be fine - the EASY version will work indefinitely.

If you'd like to get one while still available, I'm offering a 55% off discount to the readers of this forum till Jan 20th. Just click here, then enter promo code: bmr55